The latest in a series of interviews with artists who have a significant body of work that makes use of or responds to network culture and digital technologies.

Heather Phillipson, immediately and for a short time balloons weapons too-tight clothing worries of all kinds (2014). Image courtesy the artist and Bunker259.

When I saw your recent solo exhibition, immediately and for a short time balloons weapons too-tight clothing worries of all kinds, at Bunker259, I curled up in an inflatable birthing pool to watch a video suspended from an engine hoist. The video depicted a series of domestic, public, and online spaces, with a voiceover from you. At one point, you leaned over the camera and appeared to give me a facial. I broke down in laughter because it suddenly became clear that I had become a participant. When you show Zero-Point Garbage Matte, you use a similar strategy: the viewer climbs up a ladder and looks down on the monitor to view the video, a position that is reflected in its content. Which idea comes first, the video or the physical participation of the viewer?

The video usually precedes its final sculptural form, but not always. With the video suite I'm working on at the moment, for example, I have a really clear idea of what will be going on around it. Regardless, I produce multiple "versions" of each installation, so the video ends up inhabiting quite different physical structures at different times. It's like a built-in contrariness mechanism—the capacity to change the context, and therefore the work, and my mind. But, in general, the one constant is how the viewer is con/figured in relation to the video. So, with immediately and for a short time balloons weapons too-tight clothing worries of all kinds, as you mention, the viewer is recumbent with the video overhead. The video deploys regular POV shots alongside dispassionate observations, and mixes interior monologue with direct address, so there are these shifting perspectives. You're the eye/I of the camera, or its eye is turned on you…positions get conflated. For me, the physical relationship between body and screen is crucial to this formulation, although the rationale might only be revealed sporadically. It's a bastardised literary device, that semblance of inhabitation and activation—one minute you're in first person then second person or third person, then slapped back into first.

LH: For as long as I've been familiar with your work—starting on dump.fm in 2010—you've been incredibly prolific. Back then, you were creating and sharing abstract animated GIFs. I remember you would post hundreds of variations on a single shape. I see that kind of preoccupation, or obsession, come up again and again in your work, with the Phone Arts series, the Microsoft Store Paintings, and most recently, the Sheryl Crow Pandora Paintings. These expansive projects create a sense of repetition, ultimately a smooth rhythm, which appears to be so continuous as to not have a beginning or an end. Can you describe the process for coming up with these projects? How do you distinguish the individual pieces?

MM: I don't like to take any single piece too seriously, I want to work on something without the pressure of it being perfect. I think people discount producing a lot of work because they connect it to feed culture like it's more important to produce massive amounts of content for tumblr or instagram or w/e but that's not really what I'm trying to do. I think it's more interesting to like shit out a bunch of work in a natural way whether it's through a rhythm that you just stumble upon or if you see a jpeg on dump and you're like "loloolllollll pssssssh what in the even fuck ommmmmg" so you have to like rework it 50 times because you're obsessed with it, and then step back after you make this massive body of work and say to yourself "what is all that about dude?", than if you try and distill an idea into one perfect piece you've over thought to death. When you try and make a piece fit a preconceived concept it feels like graphic design, you have the message and the content you're just trying to solve how to effectively communicate that through the work and I don't want to work like that.